Meet the 2026 Critics’ Choice Award Winners!
Discover the work of all 43 photographers selected by these industry insiders, and find out directly from each critic why their image or series stood out from the rest.
Selected by
Alex Kahl
WePresent
Romania
Mihai Ciama
St Mary at Nicula Monastery, Romania
Of all the photos I viewed during this process, this was one I couldn’t stop returning to. Hundreds of pilgrims sit and wait together at Romania’s Nicula Monastery. The scene feels timeless, like a Renaissance painting depicting some great gathering of faith 500 years ago. I’m drawn to each of the individuals in the frame, but especially to the mother and child illuminated by light. Given that this pilgrimage centers on an icon of the Virgin Mary with the Child, that reportedly wept in the 1600s, that light feels meaningful, like some sort of divine calling.
Netherlands
Jermain Cikic
The '77 Project
Jermain was accepted and welcomed by a community that wasn’t his own, and he has this incredible way of bringing us with him. He invites us into these private spaces and intimate moments, allowing us to really feel each simple act of devotion and care he captures. The tones of the whole series feel dreamlike, and from Jermain’s words, that feels like an authentic representation of what that time meant to him.
Netherlands
minjue
Imong (Different Dream)
Once you’ve read the remarkable story of minjue’s father—who sacrificed so much throughout his life to fight for democracy—these images are just so powerful. With every pose and facial expression, it feels like we’re getting to know him, though a certain distance always remains. Even in moments of apparent vulnerability, such as when he sits in the bath, he is turned away from the camera, preserving that sense of separation. minjue brings us into his life while always emphasizing the limits of our understanding; a reminder that the new generation could never fully comprehend what their elders went through to build the world they live in today.
Selected by
Alex Pollack
National Geographic
Singapore
Vivek Goyal
The Borrowed City
Vivek Goyal’s image carries an almost otherworldly quality. The two women absorbed in their phones, feel suspended in a space that is both hyper-urban and strangely distant from lived reality. The overwhelming scale of the underpass structure transforms the city into something monumental and almost extraterrestrial, dwarfing the human presence beneath it. In that contrast, the image becomes compelling—the women appear quiet and simple, inhabiting a space that was maybe never meant for people. What resonates most is the tension with scale. The structures feel like massive impersonal monuments and the women carve out a small, private world within it.
Australia
David Niu
Between Worlds
David Niu’s image of Venice immediately caught my eye. The mirrored buildings, light, and color come together in a really striking way, and the reflection of the woman is what anchors it. There’s a subtle tension in the scene—the man feels slightly displaced, while the woman seems focused on something we can’t see. That adds a layer of curiosity and unease. The use of reflection creates this overlapping, fragmented space. It’s a strong piece of street photography, visually engaging but also tapping into a more universal sense of introspective solitude within a busy, layered world.
France
Victor Reichert
The Look
This image has a strong painterly quality—the light and tonality are so refined they almost feel unreal at first glance. Beyond that, it carries emotional weight. The family interaction feels intimate and unforced, drawing the viewer into a quiet moment of connection. It’s a simple image, but thoughtfully observed; a tender, beautifully rendered scene of bonding.
Selected by
Bindi Vora
Autograph
South Africa
Stefanie Langenhoven
I Do Not Want to Become My Mother
This deeply personal series reflects on the complexities of navigating apartheid-era South Africa and the ways political and social divisions reverberated within the home and across generations. Through archival family photographs and performative self-portraiture, the work thoughtfully unravels the intricate relationship between mother and daughter while examining the expectations historically placed upon women. Above all, I was drawn to the honesty within the series—its exploration of womanhood, inherited trauma and the lasting ramifications of power feel both intimate and profoundly resonant.
Guatemala
Leslie Estrada
Ties That Bind
I was particularly drawn to the simple composition of the image—foregrounding the textiles that act as both a living archive and a form of storytelling. The photograph holds a quiet sense of intimacy while reflecting the resilience and continuity of Indigenous communities in the Guatemalan highlands. Through careful attention to texture and gesture, the image speaks to the enduring relationship between tradition, craft and cultural inheritance.
India
Debsuddha
Crossroads
This portrait of Gayatri and Swati Goswami stayed with me for its quiet tenderness and emotional depth. The image spoke to the profound companionship between the sisters while holding the weight of a lifelong sense of alienation. I was particularly drawn to the palpable tension between belonging and isolation that lingers within the portrait long after viewing it.
Selected by
Cassidy Paul
Aperture
United States
Guanyu Xu
Resident Aliens
Since 2020, Guanyu Xu has collaborated with immigrants living in cities across the United States, China, and Hong Kong—creating multidimensional installations that interrogate both the psychological and physical space of their experiences. In his densely layered installations, Xu weaves together photographs of their domestic spaces—windows, plants, bedspreads, dressers, trinkets—alongside images from their own personal archives. At times, the line between print-out and reality disappears completely. A room is split in half, the same scene caught between day and night. Windows repeated throughout a single wall, new views appearing within each. A dinner table is littered with family and travel photographs. Throughout his series Resident Aliens, Xu blurs the boundaries between the familiar and foreign, creating constellations that mirror the complexities of their personal histories and immigration experiences.
Germany
Ashkan Shabani
The Quiet Rise
In his series The Quiet Rise, Ashkan Shabani documents the growing public face of far-right extremism in Germany. Between 2024–25, Shabani followed the demonstrations, marches, and gatherings of extremist groups, photographing the ways in which their ideology is becoming increasingly visible—not only through language and symbols, but coordinated public actions. Photographing in black-and-white with a harsh flash, Shabani’s images oscillate between the surreal and everyday, yet avoid any form of aggrandizing the people or scenes he depicts. In a moment when right-wing movements are gaining traction across Europe and the United States, Shabani’s series is a haunting reflection of the ways extremist movements aim to normalize themselves in contemporary society.
United Kingdom
Adam Han-Chun Lin
Sonder
Adam Lin’s series Sonder is an intimate exploration of masculinity through the lens of domesticity. Born in Taiwan and based in London, Lin’s photographs are in dialogue between the two countries as he navigates the cultural ways gender is both expressed and reimagined. Throughout his images, Lin blends together a mix of documentary and staged scenes, investigating ideas of performance, routine, vulnerability, and identity. In one image, three family members exercise with a makeshift gym in their living room; elsewhere, fathers and sons put away dishes and observe tender moments of study and rest; and in the only frame where the subject returns the camera's gaze, a man rest comfortably in a bedroom filled with wedding photos and traditionally feminine objects and bedding. Sonder reckons with our perceived notions of masculinity, and how those boundaries can shift in the private spaces of our home.
Selected by
Claartje van Dijk
Foam Photography Museum
United States
Sawyer Brice
Emerson
Emerson is an incredibly strong and personal–almost intimate–portrait in which Sawyer Brice captures the piercing gaze of a close friend, immediately drawing the viewer’s attention. The photograph captures both intimacy and vulnerability, conveying the complexity of a moment and emotional closeness. This is a timeless portrait.
United States
Candace Karch
To Be Seen
Candace Karch creates powerful portraits with To Be Seen, a body of work developed in the 1980s and 1990s around a concept that may even resonate more strongly in society today. To me, it not only shows the confidence and beauty of those being portrayed, but also reveals the complexities of identity, representation, and belonging—themes that continue to shape public discourse in our contemporary life.
Iran
Mehrdad Fathi
The Burning of Autumn
Visualizing a vast and devastating ecological disaster into vulnerable, small, and aesthetically stunning objects, Mehrdad Fathi brings back the scale of environmental loss through intimate encounter. The Burning of Autumn transforms a distant catastrophe into something tangible and personal, through which Fathi invites viewers to reflect on the fragility of both nature and memory.
Selected by
Crista Dix
Griffin Museum
Romania
Mihai Ciama
St Mary at Nicula Monastery, Romania
This photo is transcendent, reminiscent of a renaissance painting. The color, light and intimacy of the pilgrims draw me in. We feel we are part of the mass of humanity, the shared purpose of gathering and experiencing this moment.
Germany
Ashkan Shabani
The Quiet Rise
Disquieting, this series makes me uncomfortable, because I keep coming back to review and understand my own objections on the subject of white nationalism. A stark look at an ideology and people I disagree with. Photographed with extensive contrast, crisp white and deep blacks, this grabs me and holds me to look deeper at the subjects inside the frame.
Poland
Bart Rubik
Stories of the Sacred
Poland
Bart Rubik
Stories of the Sacred
The young woman staring back at me pulls at my soul. I'm unsure if she is looking at me with hope or resignation, and that is what is so compelling. I want to believe she has a bright future ahead. The framing of the image with women in black, one man's head above them, could not tell more of a story. It is my hope she walks into a bright future.
Selected by
Darius Himes
Christie’s
Iran
Mehrdad Fathi
The Burning of Autumn
Ingenious, creative, and playful solution that utilizes a small, found part of culture—the matchbox—with photographs of the beloved forest that has been affected. Beautiful images, and a poignant presentation.
Switzerland
Sascha Zeitz
Close Encounters
These vertical images are a refreshing take on street photography—elegant, complex visual puzzles based on chance, close encounters.
Russian Federation
Marina Shuryamova
Trapped
This one image sparks my imagination partly because of the starkness of the black and white. The on-camera flash at night trained on birds on a wire reads like a page from a graphic novel, and makes me curious about what and where this story leads.
Selected by
Enrico Stefanelli
Photolux Festival
United States
Walter Plotnick
Surprise Inside
I believe Walter Plotnick’s work is well done. What he wanted to convey struck me from the first moment I saw the images. I recognized the playfulness, expressiveness, and nostalgia of childhood. The work is executed in an unexpected way, which pleasantly surprised me. As he himself writes: “Despite juxtaposing such disparate elements, I harmoniously unite them to form images of great visual impact, and they are frankly a pleasure to look at.”
Estonia
Irina Jefimova
Form and Feelings
Here, the author proves once again that you don’t have to look far to tell a story. Order, color combinations, and choice of objects are the strengths of this image.
Germany
Johanna Christgau
Between Structure and Dissolution
An image, or rather a series of photographs, combined into a single final image, where the randomness of the shots contrasts with the control achieved in post-production to achieve a pleasing yet profoundly meaningful result. Everything appears still, “and yet it moves.”
Selected by
Jim Casper
LensCulture
Italy
Valentina Sinis
The Last Butterflies
In this intimate photo essay about daily life in a unit of all-female Kurdish guerrillas, Valentina Sinis captures the toughness and the tenderness of these women as they work together, prepare for battle, make meals, and connect with each on a human level.
Sinis writes: “Most are from Kurdish regions of Iran and belong to the Kurdistan Free Life Party (PJAK), with the Women’s Protection Forces (HPJ) forming an all-female unit…Beyond combat, they dedicate themselves to promoting gender equality, ecological awareness, and the preservation of the Kurdish language, while teaching other women self-protection against oppression and assimilation.”
What is especially striking to me is their ease, and the natural care they express for each other, while preparing to fight for life and death. These images are filled with calm, dignity and respect.
Sinis writes: “Most are from Kurdish regions of Iran and belong to the Kurdistan Free Life Party (PJAK), with the Women’s Protection Forces (HPJ) forming an all-female unit…Beyond combat, they dedicate themselves to promoting gender equality, ecological awareness, and the preservation of the Kurdish language, while teaching other women self-protection against oppression and assimilation.”
What is especially striking to me is their ease, and the natural care they express for each other, while preparing to fight for life and death. These images are filled with calm, dignity and respect.
United States
Avery Norman
Cry to the Angels
With Cry to the Angels, Avery Norman has created a story (and a universe) that makes you want to learn more, and to connect the dots from image to image. Despite their often-casual appearance, every aspect of these photographs is expertly controlled and intentional. Each image is loaded with details that make the viewing experience more and more rewarding the longer you look. All of the people seem quite at ease and natural in these situations—they are playing roles for the camera, but they embody the roles with very believable attitudes. There is a sly subtext going on here that is hard to pin down—and that tension adds to the mystery and allure of this work.
China
Yue Sun
Muted Ember
These pictures are a small subset of a larger body work created over the course of two years in the photographer’s hometown of Wuhai, in the province of Inner Mongolia in northern China. The project’s title, Muted Ember, suggests the dying embers of a fire, and the soft, desaturated monochrome treatment in many of the photographs helps drive home the “last gasp” nature of this small, former coal-mining town that has lost its economic livelihood.
There is lots of information in these quiet-looking pictures. This is the way it is: lost in time, cut off from the rest of the world, not much hope. It’s a story that is echoed in many cultures around the world. The portrait of the three bored teens drives it home. What does the future hold for them?
There is lots of information in these quiet-looking pictures. This is the way it is: lost in time, cut off from the rest of the world, not much hope. It’s a story that is echoed in many cultures around the world. The portrait of the three bored teens drives it home. What does the future hold for them?
Selected by
Fiona Shields
The Guardian
Germany
Per Jacob Blut
Mot Strømmen, Against the Current
This is a simple yet captivating and expressive portrait of humanity. The photographer challenges how the viewer perceives a migrant fish worker, capturing their beauty, grace and dignity in a pool of light that elevates them beyond the realities of their daily labour. The result is a meaningful, elegant statement about stereotyping.
United States
Mark Fitton
Pictures with Janet
These portraits are the result of an affectionate and poignant collaboration between the photographer and their aunt, Janet, who lives with Down Syndrome. The trust between them is evident in the scenes they create together, gently expressing Janet’s hopes, aspirations and concerns with characterful spirit and imagination. It is a tender and atmospheric depiction of life with disability.
Germany
Olga Steinepreis
My Mother Doesn't Work
This is such a witty and engaging series. It presents a caricature of family life through elaborate, humorous staging, underlining the absurdity of everyday tasks while also making a serious point about how under-appreciated parental effort can be.
How are the Top Ten chosen?
Photographers who were selected by more than one critic and/or had the highest cumulative ratings of all submissions became our Top Ten. They will each receive a $1000 grant in recognition of their work, and they will be part of a group exhibition in London in 2027.
Photographers who were selected by more than one critic and/or had the highest cumulative ratings of all submissions became our Top Ten. They will each receive a $1000 grant in recognition of their work, and they will be part of a group exhibition in London in 2027.
Selected by
Giulia Zorzi
Micamera
China
Yue Sun
Muted Ember
Yue Sun’s Muted Ember translates spatial thinking into visual storytelling through a first-person narrative that reflects on memory, identity, and change. There is a remarkable timelessness in her work—the black-and-white imagery feels suspended between past and present—and that combination of visual consistency and personal narrative is what makes the series stand out in a competition setting. It also feels important to see photographers reclaiming and telling their own stories from within their communities, while engaging critically and sensitively with environmental transformation and ecological concerns shaping contemporary China.
United States
Mark Fitton
Pictures with Janet
Pictures with Janet approaches photography as a collaborative and relational practice, creating a space in which people can look at one another differently. There is a sense of play throughout the work, but also a delicacy in the way the body, gestures, and emotions are handled. The photographs never feel intrusive or theatrical; instead, they create space for attention, intimacy, and reciprocity. The camera is not used to dominate or define a subject, but to sustain a relationship and to make visible forms of presence, care, and exchange.
United Kingdom
Edward Swinden
Alternative Use
An entire narrative within one frame. A ball caught high in the net surrounding a baseball field becomes a strangely unresolved scene—something that does not fully make sense, and precisely because of that, opens itself to endless interpretations. A simple, almost accidental moment becomes a space for imagination, inviting the viewer to wander through their own associations, memories, and fantasies.
Selected by
Hannah Watson
Trolley Books
Italy
Valentina Sinis
The Last Butterflies
From quietly observed moments behind the scenes, to seeing them in action, the sensitive strength of the Kurdish female fighters is really captured in these photographs. It’s also interesting to know they have reformed and regrouped from previous female soldier factions, which is a commentary on a continued fight for justice as well as the power of female comradeship and solidarity. Maturely handled and cohesively brought together as a series.
Austria
Nora Obergeschwandner
Image and Subject
There is something compelling about this portrait of a young man in a bath with a bruised face, it shows he is also vulnerable and questioning in confidence. When you understand it is made from a female perspective it makes sense, that maybe his guard is down for her camera. But his hand is partly raised in defense, so we never really know who is in control; we are held somewhere in between, observing both subject and photographer.
United States
Nitrate Fox
Jamnesia
A colliding, or colloding, of two very different worlds—the US roller derby community and the very trad tintype photo technique, which makes for an original and unique insight into these two worlds, old and new. The skilled and labor-intensive photographic process becomes an act of love to the community she is part of, highlighting the individuals and collective together, giving the series an aesthetic and energy all of its own.
Selected by
Jane Yeomans
Bloomberg
South Korea
Sangmooh Han
Green Gate
I see so many photo essays and stories on plastic and the destruction of the environment due to our use of plastic and plastic waste. By placing people within the environment and seeing up-close the product and materiality, this series felt very poignant.
United States
Guanyu Xu
Resident Aliens
A very layered and different way of seeing how people live and occupy a space. To see inside the homes and histories of a person as an installation is a different way of sharing personal work.
China
Yangjun Peng
Unseen Landscape
A surprising view to see these areas of China from above. A different way of seeing inside a location and places we rarely get a view of.
Selected by
Jessie Wender
The New York Times
United Kingdom
Mattia Corato
Along the River Lea
Along the River Lea is a lyrical meditation on place. I am moved by the diverse portraits of people, the wildness of urban nature, and the surprising moments captured along the banks and in the water. The series reads like a love letter to a place and I feel that connection when looking at Corato’s photographs.
United States
Guanyu Xu
Resident Aliens
I am moved by Guanyu Xu’s intricate portraits of immigrants in his series Resident Aliens. His installations in individuals’ everyday domestic spaces layered with their personal images provide an intimate and unexpected view into each person’s life and the meaning of home. With beauty and sensitivity, Xu makes me want to look deeper, to see these images at scale, and to learn more.
Iran
Mehrdad Fathi
The Burning of Autumn
Mehrdad Fathi’s beautiful and delicate matchbox cyanotypes intrigue me. The contrast of seeing the epic Iranian Hyrcanian forest depicted in a tiny matchbox is unexpected. At the same time, there is the harmony of using an early photographic technique to picture an ancient ecosystem. This harmony and contrast create a beautiful, sad tension: the fragility of nature held in the human hand.
Selected by
Rhea Combs
National Portrait Gallery
Belarus
Yuliya Germanovich
Condition
Germanovich managed to beautifully capture externally the ever-present interior feelings many experience nowadays. However, instead of being merely voyeuristic, there is a certain affinity with the subject that comes through the image that begs the viewer to ask: How much does this weigh? How much more can be piled atop of them? The answer, we all know, is a lot. But magically, and through it all, the person still finds a way—an opening for some breathing room—within that massive mound.
United States
Adrian Jones
New York Portraits
This timeless image of two finely dressed African American boys on graduation day from middle school marks a pivotal threshold moment beautifully and humanely. Standing upright in front of places that should be considered “safe spaces,” either the steps of church or school, with straightforward gazes at the camera, wearing slightly oversized suits and donning matching canes—which makes them appear older and wiser—Jones presents these two not as potential threats (something the broader society often uses to categorize Black male youth), but as radiant young teens with tremendous promise, growth, and potential.
Slovakia
Maryna Syrovatka
On Butterflies and Dinosaurs
This series offers promise and hope while simultaneously being witty and thoughtful. In effect, it has something to say. The bright colors, the art direction, the clever approach to humor through word play and satire not only brings forward a creative intelligence but serves as a reminder that even in the bleakest circumstances there remains the promise of brighter tomorrows. We are never too old to laugh or search for life’s silver lining.
Selected by
Rose Shoshana
Rose Gallery
United States
Guanyu Xu
Resident Aliens
I chose Guanyu Xu’s Resident Aliens because the photographs — made in cities across the world — form a kind of connective tissue, a flow from one immigrant’s private space into another that clearly illuminates the oneness of us. No matter how powerful the forces that now wish to divide us, no matter how alienating much of the world has become, these images bear witness to the resilience and fortitude we find within ourselves and in the company of our human neighbors.
Germany
Sebastian Kahnert
Social Geometry: Overhead Views of Eating Cultures
I chose Sebastian Kehnert's Social Geometry because the images are so beautifully composed and such a pleasure to look at — and because, in line with the first two projects, the work speaks to our shared humanity. Food becomes a metaphor for our collective longing to share ourselves with others, to feel that we belong to an infinite human chain forever transforming in design, color, shape, and taste. We are pattern-makers by nature, and the overhead view reveals our instinct to bring order and beauty to the table, even as we know that order is never permanent — that everything keeps changing, dissolving, and arranging itself anew.
United States
Deborah Klochko
Memory Shards
I chose Deborah Klotchko's Memory Shards because the work does something genuinely difficult — it makes the unreliability of memory not just a subject but a felt experience. The diptych structure is essential to this: by placing images in deliberate conversation, she destabilizes what each one seems to say alone, so that meaning shifts as you move between them. There is a material intelligence at work here too — the blurred edges, the darkened surfaces, the interplay of archival portraiture and abstracted texture — that speaks the language of recollection rather than record.
Selected by
Taous R. Dahmani
The Photographers' Gallery
United States
Guanyu Xu
Resident Aliens
Guanyu Xu’s Resident Aliens is striking in the way it turns immigration into a lived visual condition rather than an abstract policy debate. By staging and re-photographing the interiors of migrant homes, he reveals how belonging is constantly negotiated through documents, objects, and fragmented archives of selfhood. At a time when migration is increasingly framed through surveillance, legality, and exclusion, Xu’s work insists on the emotional and material textures of living in suspension.
Germany
Ashkan Shabani
The Quiet Rise
Drawing on his experience as a queer refugee, Shabani uses documentary and investigative methods to explore how power and ideology shape everyday life. The Quiet Rise traces the increasing visibility and normalization of far-right extremism in Germany. Set against the broader rise of far-right politics across Europe, the project warns how extremism gains ground less through spectacle than through repetition, silence, and everyday acceptance.
Nicaragua
Candelaria Rivera
Autumnal Woman
Candelaria Rivera’s practice feels urgent today for the way it dissolves the boundary between body and environment. Through staged, symbolic compositions rooted in nature and ritual, she creates images where the human form is quietly absorbed into ecological time. In Autumnal Woman, the body and landscape become indistinguishable, held in a shared state of fragility and transformation. Against extractive ways of seeing, her work insists on entanglement, slowness, and mutual vulnerability.
Selected by
Xavier Canonne
Musée de la Photographie
United States
Garrett Hansen
Barricades
An unusual subject in photography for a current reality in USA; gunshots and killings in schools. Original and terrifying.
United States
Walter Plotnick
Surprise Inside
The way he mixes his prints into the boxes, and plays with their shapes, is really original and reminds me of Surrealist collages. He’s working at the border of photography and fine art.
Palestine
Abdelrahman Alkahlout
Echoes of Genocide, Civilian Suffering in Gaza
His images are the witnesses of this genocide, communicating how citizens in Gaza are suffering, how they trying to survive in this awful war. We need these kind of photographs in order to remember how a government and an army makes civilians suffer.
Selected by
Yuri Yamada
Tokyo Photographic Art Museum
India
Debsuddha
Crossroads
These two women wear expressions tinged with loneliness, yet gently embrace each other as if engaged in a quiet dance. The work portrays the intimacy and mutual support cultivated through the closeness of their bodies and the intimate atmosphere created by the background and clothing and the soft light. While addressing the theme of social ostracism, Debsuddha delicately and gracefully brings forth the sisters’ dignity, the layered sense of time they have spent together, and their mutual affirmation of one another.
Sweden
Nygårds Karin Bengtsson
With Our Backs to Time
Through its meticulous compositions, restrained palette, and delicate use of light, this series creates a powerful visual experience imbued with the stillness and temporal depth reminiscent of Nordic painting. The figures placed within austere interiors and quiet landscapes inhabit the liminal space between present and memory, reality and reverie, drawing the viewer into a deeply introspective experience. The distinctive tension in the quiet placement of children and adolescent bodies also evokes the work of the Polish-French painter Balthus. The compositions—where innocence and unease, stillness and psychological drama coexist—elevate the subjects beyond mere portraiture, transforming them into allegories of memory and loss.
United States
Traci Arney
When The World Broke, I Became Water
The two figures shrouded in mist are placed in a landscape where the path ahead is obscured. The unstable ground beneath their feet, the countless droplets covering the image, and the blurred light evoke wavering memories and an unstable psychological state. Through water as a fluid and amorphous metaphor, along with bodies barely maintaining their balance, the work skillfully visualizes the slow, invisible erosion of violence and the destabilization of the body. While powerfully evoking bodily sensation and inner experience, the work transforms the experience of trauma into a poetic image. The viewer can’t help but perceive a faint sense of hope in the shimmer of the droplets.
“There were so many incredible images included in this year’s submissions. Being based in the US, I loved seeing so much international work. What really stood out to me were the thoughtful projects—timely topics explored in interesting and unexpected ways. I loved being exposed to so many new photographers.”
Jessie Wender
The New York Times
The New York Times
Alex Kahl
WePresent
The Netherlands
Alex Pollack
National Geographic
United States
Bindi Vora
Autograph
United Kingdom
Cassidy Paul
Aperture
United States
Claartje van Dijk
Foam Photography Museum
The Netherlands
Crista Dix
Griffin Museum
United States
Darius Himes
Christie’s
United States
Enrico Stefanelli
Photolux Festival
Italy
Fiona Shields
The Guardian
United Kingdom
Giulia Zorzi
Micamera
Italy
Hannah Watson
Trolley Books
United Kingdom
Jane Yeomans
Bloomberg
United States
Jessie Wender
The New York Times
United States
Jim Casper
LensCulture
The Netherlands
Rhea Combs
National Portrait Gallery
United States
Rose Shoshana
Rose Gallery
United States
Taous R. Dahmani
The Photographers' Gallery
United Kingdom
Xavier Canonne
Musée de la Photographie
Belgium
Yuri Yamada
Tokyo Photographic Art Museum
Japan
Thank You!
Congratulations to all 43 winning photographers! And sincere thanks to every photographer who participated, and to each of the experts who contributed their time and expertise.
